Quotes About Comics

Once publishers got interested in it, it was a year in developing, and it was launched, I think, in 1960. But Willie Lumpkin didn't last long - it only last a little better than a year, maybe a year and a half.

Comics fans want new stuff that looks exactly like the old stuff. It is hard for the publishers, and even the audience, to change something.

If I were to take five comic books, from four different publishers and Marvel, and lay them out, even if you didn't know the characters, you would be able to take a look at that Marvel comic and go, 'That's Marvel.' There's something unique about the way the story is presented.

Despite all the criticisms that have been leveled at the comics community, both in terms of fans and creators, I have always felt more comfortable and accepted in the comics community than I have in any other medium of publishing that I've had the pleasure of working in.

I was going to be a storybook illustrator or an editorial illustrator. I ended up in a comics class by mistake because all the others were full, so I was like 'I'll stay for one class, and then I'll go take something else, because I don't care about comics.' I got pulled in really fast; I discovered I had a voice in comics that I didn't know I had.

When I first started writing comics, in the way-back days, Typhoid Mary was my explosive response to women characters in comics - I made her an innocent virginal type, a clever, dark, liberated woman, and as Bloody Mary, a feminist bent of punishing men - all in one character. She was an instinctual rather than a calculated creation.

I'm an attorney when I'm not writing comics, and have been for years. That's a side of my life I don't always associate with pure creativity, but it's all worked out nicely.

I wanted to do pretty much a purely boy story, yes. The girls are kind of the bad guys in 'Marble Season', although that wasn't my intention. It's also a world without adults.

One of my comics is read by more people - around 70,000 - than will see my entire run at Manhattan Theater Club. That puts things in perspective.

I read The Flash. I read Green Lantern. I loved Batman.

I'm so not a comic book guy. The most I knew about 'The Flash,' as a little kid, was the Underoos. I had 'The Flash' Underoos.

People have these ideas about comic books and their adaptations as flashy and sort of surface-y, broad-strokes-type projects, but they're not, really.

As a kid, I was a big comic fan and I liked foreign comics as well.

Learning to write comics is, in fact, so bloody difficult because it's such a weird form that it does actually make you a bit more adaptable for other forms.

My brother and I used to collect comic books in San Francisco.

There were so many amazing comic books. Like I was around for the original Frank Miller/Chris Claremont 'Wolverine' miniseries.

The most frustrating part of working in TV and film is that you have to convince someone to let you make what you want; in comics you can do whatever you want and for 1% of the budget of TV and film.

Nancy's got a guardian angel. Seven feet plus of muscle and mayhem that goes by the name of Marv.

Too bad I can't afford to patent it. I can make a fortune. But again,I have a fortune. -Batman, Year One comic.

Few if any teenagers can relate to getting up for school and finding famous comics like Pryor and Williams hanging out in your living room after a hard night of partying. But that's Hollywood.

I read Spider-Man, and that's how I knew about Wilson Fisk.

I used to write bits and pieces of comedy material for various comics that were at the Windmill... as well as my film job, I was under contract, I was allowed to do that and everything.

Everything you've ever read of mine is first-draft. This is one of the peculiarities of the comics field. By the time you're working on chapter three of your masterwork, chapter one is already in print. You can't go back and suddenly decide to make this character a woman, or have this one fall out of a window.

A comic strip that your parents read when they were young is a curious thing: it's an heirloom, and it's also intimate. You peer through windows and look at the things that made your elders laugh, and then you wonder whether the laugh really belongs to you.